"Glitche" derives from the idea of a glitch, error, and unexpected malfunction in a system. The common challenge of encountering an error in life is something to learn from, it applies an individuals previous "data" to mosh with the new error "data" of life. This piece is a bridge to the metaphor of your body and mind suddenly encountering a malfunction or problem in it's own existence. The outcome of the two separate data systems is what fuels the immersive installation, it may be a positive new discovery or a disastrous end of life. This interaction is delicate, mysterious, exciting and drives the linear journey of "Glitche”. “Glitche” has been installed and activated on two separate occasions. The first iteration of the piece was installed in the Pozen Center of MassArt when Samo was a student in the Studio for Interrelated Media Program at Mass College of Art & Design. The second was installed at larger scale for Illuminus: Nuit Blanche Boston. Each iteration had it’s own site specific human interaction supplying different immersive interactions with the viewer's body. At MassArt the installation was experienced as a private experience, giving an individual the opportunity to reflect deeply with the piece and themselves. The second iteration at Illuminus was experienced through a mass body of people, allowing thousands of people to physically experience “Glitche” ’s journey through themselves and their surrounding neighbors as they intertwined through the sculpture and surrounding bodies. "Glitche" was also activated as an interdisciplinary platform, screening work by the artists Francois - Xavier de Costerd, Amber Vistein, and Amanda Justice. The immersive video sculpture additionally acted as a visual background, emulating Sweety's curated performers BLKBX, Mal Devisa, G H O U L S, PreColumbian, & Maria Finkelmeir - Ryan Edwards. "Glitche" 15' x 20 x 15' RoseBrand Celtic Cloth 1 Channel Video Projection 10.2 Channel Audio 14:00 Minute Linear Loop Pozen Center Massachusetts College of Art & Design May 2014 Special thanks to Max Azanow and Isnard Dupox